Learn how to further modulate sounds in Sylenth with the modulation section.
- [Instructor] In this chapter, we're gonna take a look at other modulation sources. Let's start with our mod envelopes. In the lower part of Sylenth interface, you can see that we have these two ADSR mod envelopes. Now, the cool thing about these is that they're user assignable. Let's take a look and see how this works. I'm gonna start with the simple sound we created with parts A and B in the last chapter. (slow music) I'm happy with it so far but I know it'll sound a lot cooler with some modulation. So, if we go to mod envelope one and open this menu here, you can see that there are all kinds of oscillator, filter, and miscellaneous parameters to choose from in sources.
For now, I'm gonna select pitch. And you'll see we can select A, B, or A and B. I'm gonna select A and B this time around because the surround we created earlier, uses parts A and B. (slow music) You'll notice we don't hear any changes yet. That's because we need to control the amount of modulation which we can do with this small knob, over to the left of the option that we've selected. Now, turning the knob to the right, creates a positive modulation.
And turning to the left, gives a negative value. In the middle, there is no modulation. And that's why you don't hear anything. If I turn it up, and also, double click it, I can go back to the default position. Okay, let's see how this works. I'm gonna start with actually just a little of a negative value here and just turn it ever so slightly and let's see what we hear. (intense music) So, there's definitely a change. But we haven't really adjusted any of the other parameters on our ADSR yet. (intense music) Let's make a little bit slower of an attack here.
(intense music) Maybe decay, as well. And I'm gonna turn up the release and bring down the sustain, just a little bit. (intense music) Okay, now, we're starting to get somewhere. By the way, part of the fun of sound design, in general, is just constant experimentation and continuing to trigger notes as you're adjusting settings until you find something that you're happy with.
So, I'm gonna do that just a little bit now. (intense music) Cool. I like that synth sound. And I like what's happening with the pitch here. So, let's check out some other parameters here.
So, can either go to mod envelope two. But in this case, I'm gonna stay with mod envelope one. But just choose another parameter. I'm gonna go, this time, let's try Cutoff A and B. Now, let's give this a positive value. And keep in mind that this Cutoff A and B is going to relate to our settings on our filter here. So, it's only going to, basically, decay back to the lowest value of our cutoff.
So, let's check that out. (intense music) I kind of like how it ends on that high note there. (intense music) That might be a cool, kind of, riser sound before a break.
If we brought this all the way down here. (intense music) Pretty cool. So, you can see that these modulation envelopes have a lot of power to really shape the sound after these more common parameters. And the mod envelopes aren't uncommon. But it's just what you do with them that can really be interesting and really give life to the sounds that you create.
Okay, in the next video in this chapter, we're gonna be looking at some other modulation sources. We're gonna go on to check out our LFO one and two. And see what those do. But before we move on, I encourage you to experiment with these mod envelopes and try your own settings.
- Reviewing the interface
- Understanding oscillator waveshapes
- Understanding oscillator controls
- Working with the Amp Envelope Generator
- Using the Part Mixer
- Working with Modulation
- Working with the Mod wheel
- Understanding the effects section
- Working with distortion, phazer, EQ, and delay
- Making sounds from scratch